These three photos have one thing in common : a diagonal line that run through their centers.

Photo 1: The Shadow of the Stairs

The shadow of this stairway is a dramatic diagonal line crossing the frame. This can be thought of as a metaphor for change, from light to dark, or between levels. Because of the way light and shade work together here to suggest both movement and stillness, the viewer can reflect on the many feet which have trod this spot. This evokes mystery by the extreme contrast of light and dark areas; it just makes me wonder what was on the other side. A really stunning photograph, even carrying elegance into one of the most ordinary architectural features, and having the viewer contemplate the obscure pasts present in our city environments.

Photo 2: The Train Tracks

The dynamic focal point created by the train tracks draws the eye to the horizon. A viewpoint of this type creates relations to waiting and travel, and it displays the excitement of city life and displacement. Because of the depth created by the shade on the rails, it could be inferred that there are travelers with something to say someplace behind them. This picture is a meditation on the passage of time-the disappearing track into the horizon suggests unseen places. The physical structure of the track is enmeshed with the intangible essence of motion and experience in order to capture the pulse of city life within this work.

Photo 3: The Pedestrian Boundary

The edge of this path and the diagonal line caused by the shadow of the sun can be seen in this picture. It is interesting to note that the light and dark used here invites consideration of the boundaries we all continually cross. The duality-the different kinds of opposites-between safety and unknowns, between the activity of the city and the peaceful seclusion found in the shadows, is immense because of this striking visual contrast between light on the pavement and the surrounding darkness. This picture would encourage meditation on personal life stories taking place around the neighborhood, since each pedestrian leaves traces of his or her tale behind. This means a closer integration with the environment that results from combining in toto the aspects of light and shadow into one vibrant tapestry of urban life.

Taken together, these three images are three diagonal lines that speak to the shadow acting as some kind of narrator within the cityscapes. This abstraction in Sugimoto’s art encourages introspection and makes one aware of the complexity and beauty of the environment in which we exist. Beyond merely capturing a particular time within an individual life, each photograph invites the viewer into deeper memories and sentiment affecting the way one lives out the day-to-day experience.

Hiroshi Sugimoto

8 photos he took:

1.

Through the Lens of: Hiroshi Sugimoto | Artsy

2.

Hiroshi Sugimoto: Joe, Beverly Hills, September 9–October 14, 2006 | Gagosian

3.

Hiroshi Sugimoto | Gagosian

4.

Hiroshi Sugimoto: Acts of God (poster) | Fraenkel Gallery

5.

Hiroshi Sugimoto : Seascapes — Ivorypress

6.

Hiroshi Sugimoto Lightning Fields 168 – Art Blart _ art and cultural memory archive

7.

HIROSHI SUGIMOTO – Guy Lesser

8.

The Story Behind Hiroshi Sugimoto’s Most Beguiling Photographs | AnOther

Photographic style analysis:

• Long Exposure: Sugimoto often uses long exposures to capture the records of time and movement, thus giving surrealistic pictures.
• Minimalism: He writes his pieces very sparsely, usually dealing with simplicity and isolation.
• High Contrast: Most of his works have been done with extreme contrasts of light and shade, which gives a dramatic touch to the work.
• Abstract Elements: Sugimoto often uses abstracted forms that create a different perception of reality in the viewers.
• Historical Context: He often works with historical themes, oscillating between past and present in a timeless manner.

His works could be abstract through the blurred forms and ambiguous subjects inviting interpretation rather than providing clear narratives. I love his style as it offers deep contemplation evoking wonder; it transforms even the most mundane subjects into profound statements about life and time.

Full Contact Sheet:

Yellow Photo:

I chose these sets of photo as my yellow photo is because it explore the complex interplay between light, architecture, and human presence within an urban environment.  My vision is to bring attention to the unsaid tales that shadows tell, which are usually overlooked in our day-to-day activities. I hope to inspire people to consider the various cultures and histories that shape the places we live in by highlighting the striking contrast and texture of shadows. The chosen photos emphasize the relationship between architecture and light, inspiring viewers to consider how these components influence our day-to-day lives. It is my hope that by showcasing these images, viewers can develop an interest and contemplate philosophically the stories that have transpired in their environment.

Green Photo:

For my green contact sheet, I selected images that focus on the relationship between light and shadow within architectural contexts, particularly focusing on stairs and floors. Drawing inspiration from the yellow contact sheet, which showcased some of the light and shadow picture but not all of them, I aimed to investigate a contrasting dimension of visual appeal by accentuating the interaction of light and shadow with constructed spaces. The photographs in my green contact sheet depict stairs and floors across a variety of environments, including both indoor and outdoor locations, under diverse lighting conditions and utilizing different materials. By capturing the delicate patterns and textures formed by light and shadow on these surfaces, I intend to highlight the aesthetic beauty and intricacy of architectural features. In curating these images, my goal was to reflect the emphasis on light and shadow evident in the yellow contact sheet, but approached in a more organized and architectural manner. By focusing on the dynamic interplay of light and shadow on stairs and floors, I aspire to evoke a sense of movement and depth that invites the viewer to engage with the image and delve into the details and textures it presents.

Red Photo:

For the image 1338, I concentrated on the interaction between the architectural shadows and the floor, which contributes to a perception of depth and texture. The image presents a clear visual focal point, with the architectural shadow acting as a guiding feature that directs the viewer’s gaze throughout the composition. In terms of enhancements for my upcoming shoot, I aim to capture more intricate and detailed shadows. This may require investigating various lighting conditions and angles to produce more complex and visually engaging shadows. Furthermore, I intend to experiment with diverse surfaces and materials to observe how they interact with shadows, resulting in unique textures and patterns.

For image 320, I chose it because in the image, the shadows produced by the metal tracks are distinctly outlined and add significant depth and dimensionality to the scene. These shadows align with the tracks’ contours, resulting in a natural and lifelike appearance. Nevertheless, there remains potential for further enhancement of the shadows’ visual impact. By amplifying the contrast between the illuminated and shadowed areas, the metal tracks could be rendered more prominent. Moreover, modifying the camera angle and focal length may better highlight the intricate details and textures of the tracks. Additionally, refining the composition to leverage the shadows for a more organic visual flow could effectively direct the viewer’s attention. Finally, enhancing the image’s sharpness could improve the clarity of both the metal tracks and their environment, rendering the entire scene more engaging and captivating.

Chosen Photographer:  Paul Strand

8 Photos he took:

1. Chair Abstract, Twin Lakes, Connecticut 1916

2. “Bowls” by Strand, Paul

3. “The White Fence” by Strand, Paul

4. “Wall Street,” by Strand, Paul.

5. Porch Railings by Strand Paul

6. Mia by Strand Paul

7. Paul Strand Photography

8. “The Court, NewYork By Paul Strand”

Analysis of Photographic Style

Characteristics of Paul Strand’s Abstract Photography:

1. Geometric Shapes: Most of his pictures contain powerful geometrical shapes, where lines and curves stand out.
2. Contrasts of Light and Shadow: The negative space in the imagery is often saturated with light, adding more drama to the images and their abstract nature.
3. Texture and Pattern: The images taken by Strand possess textures which attract viewer attention and turn simple objects to visual art.
4. Focus on Composition: He impresses by placing the components of his abstractions in a manner that supports unity of design within the composition.

Emotional Resonance: His work can also tend to be more abstract which always thanks to the constant presence of emotions as well.

Abstract Elements: Strand’s work is abstract because it often moves beyond literal representation, focusing instead on form, light, and shadow. For example, his use of shadows creates depth and intrigue, prompting viewers to see familiar subjects in new, unexpected ways.

Personal Appreciation: I value Strand’s style for his gift of making even the most dull and banal situations visually appealing. Light and texture are the things that make me curious about him. His creation allows people to relate to the environment on a completely different level.

Quotation

“It is one thing to photograph people. It is another to make others care about them by revealing the core of their humanness. Your photography is a record of your living, for anyone who really sees.” — Paul Strand

Explanation: This speaks to a fundamental level of what photography can accomplish — the expression of profound personal truths about people and their lives. Strand says that a photograph should not only show, it should invoke empathy and understanding. This is in line with the feeling I want to convey, as I aim to be able to grasp a subject, and makes the viewer resonate with my photos. This encourages me to look at the human aspect in my work, to create emotions and a narrative through abstraction. In this way, I aim to allow people to see and be able to care truly about my content.

Connection to My Vision

For this, I decided to use Paul Strand as my inspiration because of the beautiful abstract qualities that he portrays in some of his work whilst also allowing for deep narratives just like my vision “The Stories of Shadows” is doing. Strand demonstrates how light, form and the human experience can interplay as a story, which motivates me to draw by using shadows as an artistic expression of those stories in cities.

Based on his, I am going to use contrasts and textures more as well, especially by using shadows as the main subject of many photographs. Through light and framing, I hope to turn banal spaces into meaningful stories that evoke introspection.

Strand teaches me to look revealed in the little details of life, and everyday which sometimes gets overlooked. In the end, I strive to make work that makes viewers think about their own relationships to place.

Selected Image for Analysis

Image: The White Fence

I selected “The White Fence” because it is a perfect example that shows how ordinary objects can be transformed into abstract art by means of composition and light.

Strand’s use of light and shadow on the fence is so effective that it seems to give a sense of dynamic movement to the fence which is in fact a still object.

• Formal Element: Light 

Light and shadow are the key elements in this photograph. They help to show the surface of the fence and to form the illusion of three-dimensional space, thus the viewer is involved in the picture more.

The Stories of Shadows

My project will be a celebration of the untold narratives that shadows portray in an urban context. Shading, such an underestimated component, opens up the spatial dialogue between light and architecture inviting the viewer to ask themselves how these components define our everyday life. I was hoping that this would get the viewers to think about those same cultures and histories that contribute so much to the spaces we live in.

I would like the audience to be curious or philosophical, wondering about the kōrero tuka that have taken place on our night walks through worlds we are mostly footprints in. I want for them to feel as if a sense of place with the areas around themselves are in effect, that they begin seeing the beauty in everything from light and shadow.

I will tap my inspiration from the set of pictures that reflect the relationship between light, architecture and human presence. I am in search for images that emphasizes the stark contrast and texture of shadows, to look for moments where they help to tell a story within a scene.

Finally, I think that classically we discount the value and significance of shadows as meaningful in themselves. Through shedding light on these traces, I intend to prompt the viewer to care for the layered tales in their vicinity, to unveil the poetry of their everyday.

My Mind Map:

https://padlet.com/jackzhou/my-remarkable-padlet-q3k5rq2eu30oa18

12P

Picture1 Formal element represented: Line, Shape

Didn’t work: Although it has a high similarity to the original image, the shadow on the left exceeds the middle line， the shadow on the left exceeds the middle line.

Picture 2 Formal element represented: Shape, Focus

Didn’t work:  The original picture was a square picture, but the picture I took turned into a circle.

Picture 3 Formal element represented: Pattern and Texture

Worked: The pattern of the original image has been well replicate.

Picture 4 Formal element represented: Pattern, Tone and Line

Didn’t work: The edge lines of the subject being photographed are not smooth enough and are somewhat steep.

Picture 5 Formal element represented:  Line and Shape

Didn’t work: Although the gap between the two shapes is well separated, the original image had five rectangles while mine only had two.

Picture 6 Formal element represented:  Tone and Shape

Didn’t work: The circle has a shadow that is not present in the original image.

Picture 7 Formal element represented:  Line and Shape

Didn’t work: Although the keyboard graphics are similar to the original image, the distance between each button on the keyboard is still different from the original.

Picture 8 Formal element represented: Pattern, Shape

Worked: The hole in the picture has been well replicated.

Picture 9 Formal element represented: Shape, Pattern and Line

Worked: Although it appears slightly tilted compared to the original image after replication, other aspects such as shape have been well replicated

Picture 10 Formal element represented: Shape, Focus and Line

Didn‘t work: The path shows a triangular shape but lacks the clear geometric qualities of the drawing.

Picture 11 Formal element represented: Line, Shape

Didn‘t work:  The object in the photo I took is not smoothly connected at the top and end, but it can be made smoother.

Picture 12 Formal element represented: Texture and Pattern

Worked: The horizontal line in the original film was well presented, and the line patterns in the pictures were also well replicated.

“Abstract photography can be defined as capturing images in which the subject isn’t the most interesting element. Albert Renger-Patzsch, Edward Weston and Aaron Siskind photographed the ordinary to reveal their beauty. Uta Barth reversed the typical use of the camera, shooting out of focus and Andreas Gursky photographs the repetition of elements. During this unit you will investigate appropriate examples of abstract photography and respond in your own way..”

Edward Weston’s Pepper No. 30

3 Things the Photographer Might Have Been Interested in Capturing in This Picture:

1. The Essence of the Ordinary: Edward Weston was proficient in the dull and the routine. Perhaps, in the case of “Pepper No. 30,” he concentrated on discovering the beauty in the usual pepper pod and its unique form in photography.
2. The Interaction of Light and Shadow: Weston had great skills in lighting, and this picture speaks volumes of his artistry. Perhaps he was interested in capturing how the light worked with the surface of the pepper pod, creating light and shadows that accentuated its shape and texture.
3. The Aesthetic of Minimalism: About Weston’s work, he is also known to work with excess of negative space as to widen the scope and depth of the main focal point i.e. the subject. In “Pepper No. 30,” for instance, he may have sought this more by including only the pepper pod and letting it do the speaking.

The Title I will give it if I m the photographer:

For me, if I were the one taking the photograph, I would probably have titled this photograph “The Poetry of the Ordinary ”. The title is apt for the particulars of the photographs; since it speaks mostly toward portraying the beauty in the most common still “object”. Further analysis indicates that it also means that a photographer of certain caliber is able to find and create interest even in common things.

The Use of Line, Shape, Pattern, Texture, Tone, and Focus:

• Line: The photograph utilizes curved lines created by the pepper pod’s shape, as well as straight lines created by the shadows cast by the light source. The interplay of these lines creates a sense of movement and dynamism within the still image.
• Shape: The most prominent shape found within the photograph is that of the pepper pod which is elongated and curved. This shape is pleasing and quite basic at the same time leaving full concentration on the subject matter.
• Pattern: The image tends to be very simple in use of patterns aside from the fact that the very surface of the pepper pod has an inherent pattern owing to its ridges and lumps. This element of design is appealing and serves to great extent assures the building of the image in relation to the textural accent of the subject matter.
• Texture: The photograph captures the pepper pod’s rough, uneven texture in stunning detail. The use of shallow depth of field helps to isolate the subject and draw the viewer’s attention to its surface, which is full of intricate details and variations in tone.
• Tone: The photograph utilizes a limited color palette, with shades of black, white, and gray dominating the composition. The use of neutral tones emphasizes the subject’s form and texture, allowing the viewer to focus on the pepper pod’s unique qualities.
• Focus: The camera is aimed at the pepper pod and everything from the surface till the macrocosm texture is clearly visible. The depth of focus is limited and the background is out of focus, which serves to emphasize the subject.

Citations:

“Edward Weston” dx.Isb.cn, https://dx.isb.cn/dash/#/classroom/648607/sections/lesson/344121/page/344128. Accessed 6 Sept. 2024.

Photography is an enormous world and there are some principles and elements that can help you to make better images. These are the fundamental components of photography. They are the hand of a photographer, who shape his message or emotion and story through a lens. We will also be unpacking the interpretation of formal elements in photography and moving through each six discussed to date including line, shape, pattern texture tone focus.

What are Formal Elements in Photography?

In photography, formal elements are the basic visual properties of composition and impact in an image. This has to do with more than just the content of images, it is also a matter of how and where photographers use light, color, space as element which often carry ambiguous or symbolic meaning that narrative genres. These are the elements with which photographers can take their work to another level in terms of emotional and visual interest as well.

The Six Formal Elements of Photography:

1. Line: Lines, we can speak far longer because in fact they are one of the most primitive and simple forms of any thing in the field of photography. These can be vertical and horizontal, curved or diagonal in their positioning and they can lead the viewers eye through the picture in a given direction giving the picture some level of motion or flow. Lines may also be applied to establish tension, emphasis or balance and structure within the scene.

   Example: An excellent example of the use of line in photography is Ansel Adam’s monolith, the face of half dome. The vertical lines of mountain and the diagonal line of the shadow imbue the picture with dramatic sense of grandeur.

   

2. Shape: Shapes are the two-dimensional forms that define the boundaries of objects within an image. They can be geometric (such as circles, squares, and triangles) or organic (such as the shape of a leaf or a flower). Shapes can be used to create emphasis, contrast, or repetition within an image.

   Example: The iconic image “The Great Wave off Kanagawa” by Katsushika Hokusai is a masterful example of the use of shape in photography (or, in this case, traditional Japanese woodblock printing). The enormous wave, with its undulating curves and swirling shapes, dominates the composition and creates a sense of awe and power.

   

3. Pattern:  Patterns are repetitive elements that create a sense of rhythm and order in an image. They can be natural (such as stripes on zebras) or artificial (such as tiles on roofs). Patterns can be used to add interest, texture, or depth to images.

   Example: One specific approach of effective use of pattern in photography subject refer to an interesting street photography work of Vivian Maier. In her images there’s always some objects, such as windows of a building or lines on the sidewalk that have similar formations, which make the image very rhythmic.

   

4. Texture: Texture refers to the visual and tactile quality of an object’s surface. In photography, texture can be conveyed through lighting, shadows, and the use of depth of field. It can add dimension and realism to an image, making it feel more tactile and alive.

   Example: One of the best known examples of texture as one of the elements of a photo is a photograph called ‘Pepper No 30’ by Edward Weston.The photo depicts a peppercorn and its surface in detail: it captures the texture of the pepper grain. Shallow depth of field along with pulsating, soft light contributes to concentrating the viewer’s attention on the texture and form of the peppercorn thus offering the ‘pleasure of touch’.

   

5. Tone: Tone refers to the lightness or darkness of an image, as well as the overall mood or atmosphere it conveys. It can be manipulated through exposure, contrast, and the use of filters. Tone can be used to create a sense of warmth, coolness, happiness, or sadness.

   Example: A powerful example of tone in photography is Dorothea Lange’s “Migrant Mother.” The image features a destitute woman and her children, with their faces etched in exhaustion and despair. The low-key lighting and muted tones create a sense of hopelessness and desperation that is deeply affecting.

   

6. Focus: Focus refers to the clarity or sharpness of an image. It determines which elements within the frame are in sharp focus and which are blurred. Focus can be used to draw attention to a particular subject or element, or to create a sense of depth and dimension.

   Example: One of the most famous focus example in photography  is Henri Cartier-Bresson’s “Behind the Gare Saint-Lazare.” This picture portrays a moment of spontaneous humor and solidarity between two men on the street. The shallow depth of field and clear focus on the subjects’ faces gives the impression of closeness and immediacy that is fascinating.

   

Can an Image Show Just One Element at a Time?

While the image can highlight a single formal element, it is more likely that the images will contain several elements to a different degree. The secret is to utilize these ingredients in a way that is balanced and coherent so that they can be combined to form a solid and powerful composition. Nevertheless, the fact is undeniable that there are many images that promote one aspect only, such as Edward Weston’s “Pepper No. 30” which has the texture emphasizing, and Henri Cartier-Bresson’s “Behind the Gare Saint-Lazare” which has the precise focus. In the end, the decision of which elements to stress the most is up to the photographer and it will be influenced by the subject, the required mood and atmosphere, and the composition of the image as a whole.

Citations:

Wikipedia contributors. “File:Tsunami by Hokusai 19th Century.Jpg.” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=File:Tsunami_by_hokusai_19th_century.jpg&oldid=1098889935.

Wikimedia.org, https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Ansel-adams-monolith-the-face-of-half-dome.jpg/1200px-Ansel-adams-monolith-the-face-of-half-dome.jpg. Accessed 4 Sept. 2024.

Gstatic.com, https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQSqWuJp8EdKHtlBSXVOzMpD_qSZCMUfBd-rA&s. Accessed 5 Sept. 2024.

Abstract photography is a genre of photography that pays greater attention to visual elements, shape, color, texture, and pattern rather than recognizable themes. It stresses the creation of images, which can evoke emotion or provoke thought through composition and form without portraying text or recognizable scenes. While underlining those abstract qualities, this type urges the viewer to perceive and interpret the photos more intuitively and personally, without dwelling on the conventional themes but finding the very quintessence and beauty of the visual elements as such.